To do this, I first register the agencies of representation in architecture and acknowledge the major transformations that representation has undergone in recent decades, mainly along two axes: digitization of its media and the increasing quantity and multiplicity of its imagery. I especially focus on a particular critical agency that representation acquires in a specific context, that of architecture-city relationship. This paper engages with architectural representation.
OASE 85 sets various visions of the role of the designer in relation to the indeterminate in the spotlight. Financial instability means processes now proceed with more difficulty some are being suspended for months or years or cancelled altogether. Whereas in the past, future changes in use or programme over the lifespan of buildings and whole areas were actively anticipated, now the very continuation of existing projects is at risk. In other words, is there potential for the design in the unstable and changing societal and urban context? And if so, what attitude should a designer adopt? Likewise, how can administrators, planners and policymakers integrate this dynamism in their development and management plans? OASE 85 answers these questions by means of theoretical reflections and inspiring practical examples. This is why OASE finds it imperative to pose the question of how the designer can put this uncertainty to productive use. The economic crisis of the last few years has had an impact on the domain of spatial planning and architectural practice. He thus considers, next to embodiment, compassion as a necessary skill for architects to be able to build atmosphere. Pallasmaa notes, moreover, that it is crucial for architects to empathise with users, clients and other perceivers of architecture, no matter how anonymous or distant they may seem. However, since architecture is subject to use, atmosphere is by no means a merely individual task.
The experience of atmospheric quality in architecture, then, is by definition an embodied experience. Pallasmaa argues that atmosphere is immediately experienced as a unity, in which all senses are simultaneously at work. Concerning the role of the architect, Pallasmaa identifies a need for a certain balance between naivety and expertise to develop a sensibility for atmospheres. In this interview with OASE Juhani Pallasmaa discusses how atmospheres are constructed in, for instance, painting, literature and music, adjoining professional fields that, according to him, also reveal the essences of the field of architecture.
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